MUSIC BOX FILMS PRESEN TS BY THE GRACE OF GOD WRITTEN AND DIRECTED BY FRANÇOIS OZON PRESS N O TES 137 MINUTES | FRANCE | 2019 | NOT RATED | IN FRENCH W/ ENGLISH SUBTITLES Official Selection: Berlin International Film Festival 2019 Winner: Silver Bear Publicity Contacts: New York/National: Los Angeles: Sophie Gluck & Associates Marina Bailey Film Publicity Sophie Gluck Marina Bailey [email protected] [email protected] 212-595-2432 323-962-7511 Aimee Morris Dina Makhlouf [email protected] [email protected] 212-595-2432 Music Box Films Contacts: Marketing Director Regional Publicity/Social Media Becky Schultz Will Sonheim [email protected] [email protected] 312-508-5360 312-508-5362 Theatrical Bookings Exhibition Materials Kyle Westphal Julia DaVis [email protected] [email protected] 312-508-5359 312-508-5359 LOGLINE Based on real eVents, Francois Ozon’s BY THE GRACE OF GOD is a gripping and urgent story of the surviVors who banded together to expose and dismantle the French Catholic Church’s code of silence surrounding Pastoral abuse. SYNOPSIS BY THE GRACE OF GOD is the true story of three adult men- Alexandre (MelVil Poupaud), François (Denis Ménochet) and Emmanuel (Swann Arlaud)- who banded together to expose the code of silence that continued to enable a priest who abused them as boys. The three men will go to great lengths to denounce the perpetrator and the institution that has always protected him, a risky endeavor that will endanger the relationships with their loved ones, as well as compromise their own fragile selves. The true story upon which the film is based is an ongoing scandal in France, with Philippe Barbarin, Cardinal of Lyon, convicted in March 2019 for concealing the conduct of Father Preynat. INTERVIEW FRANÇOIS OZON BY THE GRACE OF GOD is your first film about a They were intrigued when a fiction filmmaker news story, and with so many characters... approached them. They imagined a film in the spirit My initial idea was to make a film about male of SPOTLIGHT where they’d become fictional fragility. I’Ve brought many strong female characters characters played by famous actors. So I thought: to the screen. This time, I wanted to turn my This is what they want from me, and this is what I attention to men who are visibly suffering and know how to do. But I approached the fiction with feeling emotional, things we usually associate with some trepidation, because I really liked these people the female gender. The first idea for a title was and feared I wouldn’t be able to bring them to the actually The Crying Man. screen in a way that did them justice. Then I came across the story of the Preynat case. On the Victims’ website La Parole Libérée (in English Lift How did you go about writing the script? the Burden of Silence), I read stories of men who had Initially I was tempted to twist reality to make it fit been abused as children at Church. I was particularly my script. The victims left gray areas in their stories moVed by Alexandre, a ferVent Catholic who gaVe an and I had a tendency to take short cuts. Plus, the account of how he’d struggled in silence until the age sheer number of characters frightened me. I was of forty, when he finally felt able to tell his story. The tempted to reduce. For example, I wanted to blend website also featured interViews, articles and email François’ and Emmanuel’s lawyers into one character correspondence between Alexandre and members of to streamline the script. But the two women had Lyon’s Catholic hierarchy including Cardinal different personalities and different perspectiVes on Barbarin and Régine Maire, the Church psychologist the story, so I embraced the magnitude of the in charge of proViding support to victims of priests. I ensemble film and did my best to respect the real found these documents fascinating, so I contacted facts and their complexities. Alexandre. Tell us about that. For the first part of the film, I asked Alexandre for He brought along a file of his correspondence with precise details concerning the timeline of his the Church up to when he filed his complaint. I was interactions with the Church, especially his meetings so touched that he trusted me with those letters. We with Régine Maire and his confrontation with hear some of them in VoiceoVer at the beginning of Preynat. It was easier with François and Pierre- the film. At first I considered using this incredible Emmanuel because I had their depositions. I also had material to write a play, then I turned to the idea of a access to all of their testimonies on Lift the Burden’s documentary. I met with Alexandre frequently and website. I knew their words, their expressions. In the did a little investigatiVe journalism, meeting other film, when Emmanuel says to Preynat, ‵"I was a victims like François and Pierre-Emmanuel and child," those are Pierre-Emmanuel’s actual words, people close to them, their wiVes, relatiVes, Pierre- although he had written them, he didn’t say them Emmanuel’s mother, their lawyers... I didn’t film directly to Preynat as he does in the film. these interViews, but I listened and took notes. Did you meet Cardinal Barbarin, Régine Maire and What made you decide to switch from Bernard Preynat? documentary to fiction? Once I’d abandoned the idea of making a When I started discussing my project in concrete documentary, there was no longer any point in terms with the Victims, I sensed they were meeting them. There are no reVelations. The facts of disappointed and reticent about the documentary the inVestigation and the details I’m illustrating haVe idea. They’d already given many interViews to the already been exposed in the media or on the media and been featured in teleVision reports and Internet. I didn’t take any liberties with the facts. documentaries My priority was to tell the personal stories of the I want us to sense a dormant rage in this character. men who had been molested as children from their He’s suffered physically. He’s an epileptic, though the point of View as Victims. I did take some liberties with real Pierre- Emmanuel is not. The challenge is for the storylines of the people close to them, while the audience to get attached to each new character as remaining true to their experiences and the spirit of he enters the story. Their stories are Variations on the their testimonies. That’s why I changed their family same theme, and I hope they enrich each other. names, making them fictional heroes, which I did not do with Cardinal Barbarin or Father Preynat. The film opens on the Cardinal walking from the back, then contemplating the city of Lyon from the What made you decide to structure the film as a sort top of the Basilica of Notre-Dame de Fourvière. of relay race between three characters? It was crucial to anchor the film in Lyon. Lyon was The reality of what happened made it self-evident. I the first place of Christianity in Gaul and maintains a quickly realized that at a certain point, Alexandre’s very conservative tradition of the Church. process stops and the story continues without him. Geographically, the Basilica on a hill oVerlooking His deposition leads the chief of police to open an Lyon provides a visual metaphor for the power the inVestigation and contact François, who in turn Church holds over the city. creates the association Lift the Burden, through The idea wasn’t to condemn the Church but rather to which he meets Emmanuel. It’s a domino effect. explore its contradictions and the complexities of the The film begins with an indiVidual’s struggle: case. At one point a character explains his Alexandre against the institution. Then he passes the commitment to the association by saying, ‵‵I’m doing baton to François, who creates a collectiVe. And this for the Church, not against it.′′ through that collectiVe a new Victim emerges: Emmanuel. By opening the film with Alexandre, a fervent Catholic, you’re not immediately focusing on Alexandre and François were obvious choices indignation against the Church. because of their active roles in the case, whereas Alexandre respects the institution and thinks Emmanuel is more of an anonymous victim. Barbarin is an honest, courageous man who has always condemned pedophilia and who will thus take The choice of the third character was more difficult, action. He believes in the goodwill of because there were many Victims to choose from. I both Barbarin and the Church. And why not? At one needed dramatic progression. I needed the pain and point I film Barbarin praying. Maybe he’s asking God emotions of each character to be different so I could for help. And the problem with Preynat, setting aside conVey different facets of the experience, different his behaVior with children, is that he was always seen consequences of the Church’s actions on the priVate as a good priest. He was well liked by his parishioners liVes of the Victims. After Alexandre and François - and his hierarchy. who come from comfortable backgrounds and haVe partners, children and jobs - it struck me as interesting to haVe a third character who is less socially integrated, whose pain is more raw, more psychologically and physically apparent. Alexandre and François told me about Pierre- Emmanuel. They said he came from a different social background and was Very sensitiVe and vulnerable. So I met him, and he really touched me.